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Further and closer contexts; Theatre in Venice

Part 2 Project 2003Piotr Stalony-DobrzañskiZijiao QiaoCracow University of Technology Krakow PolandThe main idea of the planned urban composition has been based on thevirtual axis between two churches and inspired by Kazimir Malevich'spainting composition. Two unified elements: Venetian model ideal town andthe building of theatre shape, in the urban scale, a gate to the city of Venice.

The created composition appears to be the effect of the compromise between inscribing it in the historic form of venetian town planning and the contemporary vision of the city on the water.The theatre has been enclosed in minimal form which brings to minds of the observers the idea of boat, on the deck of which reality is mixed up with the world of theatrical illusionPiotr Stalony-DobrzañskiZijiao Qiao

The beginning of architecture form building was being explored in the city space and ‘urban motives’ derived from it were considered in the times of Giuseppe Samone a set of urban qualities possible to be described and analysed. Urban motives deriving from spatial reasons of the existing situation began to be guidelines for creating architecture. Other inspirations, based on other contexts, can be called ‘architecture contexts’. They are difficult to rationalize. They justify author’s actions in his and audience’s eyes and help to build the world of architecture. These architecture pretexts serve the purpose of indirectly building the form or the convention which will be used to build another part of ‘the story’. Venetian theatre finds similarities with the forms of Russian constructivists, classical concrete architecture and contemporary young architect’s fantasy.